Table Of ContentTHE ART OF
DRAMATIC WRITING
Its Basis
in the Creative
Interpretation
of Human Motives
BY
LAJOS EGRI
WITH AN INTRODUCTION BY
GILBERT MILLER
A TOUCHSTONE BOOK
Published by Simon & Schuster
New York London Toronto Sydney Tokyo Singapore
COPYRIGHT © 1946, 1960 BY LAJOS EGRI
ALL RIGHTS RESERVED
INCLUDING THE RIGHT OF REPRODUCTION
IN WHOLE OR IN PART IN ANY FORM
A TOUCHSTONE BOOK
PUBLISHED BY SIMON & SCHUSTER, INC.
ROCKEFELLER CENTER
1230 AVENUE OF THE AMERICAS
NEW YORK, N.Y. 10020
TOUCHSTONE AND COLOPHON ARE REGISTERED TRADEMARKS
OF SIMON & SCHUSTER, INC.
Originally published by Simon and Schuster in 1942 as How to Write a Play;'
revised and published in 1946 as The Art of Dramatic Writing. This is a newly
revised edition of that book.
ACKNOWLEDGMENTS
My thanks are due to: Coward-McCann, Inc., for permission to quote
from Moses L. Malevinsky's The Science of Playwriting. Covici-Friede,
Inc., for permission to quote from Stevedore by Paul Peters and George
Sklar. Dr. Milisaw Demerec for permission to quote from his speech on
Heredity, delivered before the American Association for the Advance-
ment of Science, on December 30,1938. Dodd, Mead 8c Company, Inc., for
permission to quote from William Archer's Play-Making, A Manual of
Craftsmanship. Farrar & Rinehart, Inc., for permission to quote from
Dubose Heyward's Brass Ankle, copyrighted by the author in 1931. Edna
Fcrber and George S. Kaufman for permission to quote from their play.
Dinner at Eight, published by Doubleday Doran 8c Company, Inc. Inter-
national Publishers Co., Inc., for their permission to quote from V. Ado-
ratsky's Dialectics. Little, Brown 8c Company for their permission to quote
from Percival Wilde's Craftsmanship. The Macmillan Company for their
permission to quote from Lorande L. Woodruff's Animal Biology. The
New York Times for their permission to quote from Robert van Gelder's
interview with Lillian Hellman, April si, 1941. G. P. Putnam's Sons for
permission to quote from John Howard Lawson's The Theory and
Technique of Playwriting, copyright, 1936; and for their permission and
the author's, Albert Maltz, to quote from his play, The Black Pit. Eugene
O'Neill and his publishers, Random House, Inc., for their permission to
quote from his play, Mourning Becomes Electro. Random House, Inc.,
for their permission to quote from Irwin Shaw's play. Bury the Dead:
Charles Scribner's Sons for their permission to quote from Robert Sher-
wood's play. Idiot's Delight. John C. Wilson for permission to quote from
Noel Coward's plays. Design for Living, copyright, 1933, and published
by Doubleday Doran & Company; and Hay Fever, copyright, 1925.
Dwight Deere Wiman and die New York Herald Tribune for their
permission to quote from Mr. Wiman's article, "Advice: Producer to
Playwright," April 6, 1941.
ISBN 0-671-21338-6
MANUFACTURED IN THE UNITED STATES OF AMERICA
45 47 49 50 48 46
TO
MY WIFE, ILONA
INTRODUCTION
/ must say at once, in all fairness to both Mr. Egri and to
the rules he has helped annihilate in his book, The Art of Dra-
matic Writing, that it is far more than a manual on playwright-
ing.
It is difficult to catalogue this book in a sentence, just as it
must have been difficult to say in a handful of words what,
when they first came from the press, Veblen's Theory of the
Leisure Class was to sociology, what Parrington's Main Cur-
rents in American Thought was to American literature. These
books, in addition to casting floodlights into the hitherto dark
corners of their respective fields, illuminate so much neigh-
boring terrain, open up windows on so many other provinces
of life, that they take some time in the evaluation. Time, I
am certain, will deal handsomely with The Art of Dramatic
Writing.
Being a play producer by profession, I am naturally most
keenly interested in what Mr. Egri has to say to me directly,
as a professional man. The theater is as studded with rules as
is a baked ham with cloves. None is more rigid, none more
unfalteringly axiomatic, than the one that says nobody can
possibly know what a good play looks like until it has been
produced. This is quite obviously a rather expensive pro-
cedure. It leaves one with something less than a feeling of
satisfaction when, as is all too often true, the ultimate- result
is so bad. It is no small thing, therefore, to be able to say of
a book what I feel I can say of The Art of Dramatic Writing.
vi
INTRODUCTION vii
Here is the first book I have come across that can tell why a
play is bad long before you have signed contracts with highly
paid actors and commissioned various members of seven
unions to proceed with the construction of a production that
will cost as much as a Long Island mansion.
'Mr. Egri writes with the solidity, the authority, the ease
that, it seems to me, comes only from knowing more than one
profession. He writes with the sort of hard, shining clarity that
comes of surefootedness in all the nooks and crannies, all the
mountains and valleys of life itself. This man, you feel, has
been around a long time and in many places. He has under-
stood much and learned more than most. Mr. Egri writes like
a very wise man.
The best of the many things I can say for The Art of Dra-
matic Writing is that from now on the average person, includ-
ing myself, will have no excuse for inarticulateness. Once you
read Mr. Egri's book you will know why any novel, any movie,
any play, any short story was boring, or, more important, why
it was exciting.
I feel that this book will greatly influence the American
theater and the public as well.
GILBERT MILLER
• •
CONTENTS
INTRODUCTION vi
FOREWORD x
PREFACE xiii
I PREMISE 1
II CHARACTER 32
1. The Bone Structure 32
2. Environment 43
3. The Dialectical Approach 49
4. Character Growth 59
5. Strength of Will in a Character 77
6. Plot or Character—Which? 86
7. Characters Plotting Their Own Play 100
8. Pivotal Character 106
9. The Antagonist 113
10. Orchestration 114
11. Unity of Opposites 118
III CONFLICT 125
1. Origin of Action 125
2. Cause and Effect 126
3. Static 136
4. Jumping 146
viii
CONTENTS ix
5. Rising . 162
6. Movement 171
7. Foreshadowing Conflict 178
8. Point of Attack 182
g. Transition 192
10. Crisis, Climax, Resolution 218
IV GENERAL 230
1. Obligatory Scene 230
2. Exposition 234
3. Dialogue 238
4. Experimentation 245
5. The Timeliness of a Play 248
6. Entrances and Exits 251
7. Why Are Some Bad Plays Successful? 253
8. Melodrama 255
9. On Genius 256
10. What Is Art?—A Dialogue 259
11. When You Write a Play 262
12. How to Get Ideas 265
13. Writing for Television 274
14. Conclusion 278
APPENDIX A. Plays Analyzed 279
APPENDIX B. How to Market Your Play 294
APPENDIX C. Long Runs on Broadway 298
INDEX 303
FOREWORD
The Importance of Being Important
DURING the classic time of Greece a terrible thing happened
in one of the temples. One night the statue of Zeus was mys-
teriously smashed and desecrated.
A tremendous uproar arose among the inhabitants. They
feared the vengeance of the gods.
The town criers walked the city streets commanding the
criminal to appear without delay before the Elders to receive
his just punishment.
The perpetrator naturally had no desire to give himself
up. In fact, a week later another statue of a god was destroyed.
Now the people suspected that a madman was loose. Guards
were posted and at last their vigilance was rewarded; the cul-
prit was caught.
He was asked,
"Do you know what fate awaits you?"
"Yes," he answered, almost cheerfully. "Death."
"Aren't you afraid to die?"
"Yes, I am."
"Then why did you commit a crime which you knew was
punishable by death?"
The man swallowed hard and then answered,
"I am a nobody. All my life I've been a nobody. I've never
done anything to distinguish myself and I knew I never would.
I wanted to do something to make people notice me . . .
and remember me."
After a moment's silence he added, "Only those people die
FOREWORD XI
who are forgotten. I feel death is a small price to pay for im-
mortality!"
* * %
Immortality!
Yes, we all crave attention. We want to be important, im-
mortal. We want to do things that will make people exclaim,
"Isn't he wonderful?"
If we can't create something useful or beautiful . .. we
shall certainly create something else: trouble, for instance.
Just think of your aunt Helen, the family gossip. (We all
have one.) She causes hard feelings, suspicion, and subsequent
arguments. Why does she do it? She wants to be important,
of course, and if she can achieve this only by means of gossip
or lying, she will not, for one moment, hesitate to gossip or lie.
The urge to be outstanding is a fundamental necessity in our
lives. All of us, at all times, crave attention. Self-consciousness,
even reclusiveness, springs from the desire to be important.
If failure arouses compassion or pity, then failure might be-
come an end in itself.
Take your brother-in-law Joe. He's always running after
women. Why? He's a good provider, a good father, and
strangely enough, a good husband. But there is something
missing in his life. He is not important enough to himself,
to his family, and to the world. His affairs have become the
focal point of his existence. Each new conquest makes him
feel more important; he feels he has accomplished something.
Joe would be surprised to learn that his craving for women
is a substitute for the creation of something more significant.
Motherhood is a creation. It is the beginning of immortality.
Perhaps this is one of the reasons women are less inclined
toward philandering than men.
The greatest injustice imposed upon a mother is when her
grown up children, out of sheer love and consideration, keep
their troubles from her. They make her feel unimportant.
